Carny (2009)

A beast as savage as its prey

What makes this made for TV Canadian film shown on the Sci-Fi (now SyFy) Channel--I know, I know "Canadian"--a cut above the usual creature-running-amuck type of B movie is it takes itself somewhat seriously, it lifts part of the screen away when people actually die and there are a few different themes going on at once to give it some meaning. The film carries the usual hit and miss CGI, though it doesn't look entirely thrown together and there are some actual grisly prosthetic gore effects when the immaterial attacks the material. It rushes into a few of its scenarios--especially how it opens up--but the saving grace of "Carny" is it doesn't entirely feel cheap overall.

A carnival hits a small, crime free town called Reliance with a new oddity up its sleeve that's going to be more outrageous and far more dangerous than the usual human deformity. That's because it's not a human at all: a shady and eccentric showman named Cap gets ahold of the Jersey Devil with curious spectators lining up but to the by-the-book Sheriff's unease. The local pastor goes about his usual ramblings, but this time at least he can say "I told you so" when the winged beast escapes to the nearby woods and attacks and kills unsuspecting locals till a full blown creature hunt with every available gun is assembled. If there's ambition with this carnival then it sheds rivers of red and sees through green eyes since Cap and his even shadier assistant are playing along but are currently trying every which way they can to reacquire it for a buyer willing to pay a pretty penny.

Some of the performances are better than others. Matt Murray, as the pastor's son Taylor, plays the tough and rebellious but scared on the inside persona like a caricature. Vlasta Vrana, as the hypocritical pastor, seems to start out somewhat innocently but escalate to someone far more threatening when people actually listen to his incessant ramblings. As the Sheriff Lou Diamond Phillips manages to act naturally but isn't always given opportunity to play a charismatic leading man with so many others gaining side parts around him. Simone-Elise Girard, as Samara the vision seeker and potential love interest, represents someone as a character but is somewhat stiff in her delivery and tone. Alan C. Peterson, as Cap the showman, keeps up both appearances with the shady dealings behind the scenes and not letting himself being found out in the front.

If one can get over there being no build up to acquiring the Jersey Devil and that there was only minimal effort made with explaining how or why it actually exists then this was a somewhat diverting experience. There are some inconsistencies here and there but the pacing is somewhat steady and moves from one thing to next to cover up a few. The film deals with some indifference and how a situation can escalate out of control with the creature as well as the town's folk against their own kind. There's a sense that every other person wants to control the next, anywhere from the pastor's son not being treated as an individual to the assistant of Cap being pushed around despite having capability. It makes you wonder who is more the villain or darker in nature: the Jersey Devil or the thought to be normal citizens with facades. The deaths are actually treated like who was killed was a person. A share come as a surprise as to who gets it next as the filmmakers aren't afraid to kill off their leads, even when there was a scene with drama to establish who they were prior. Not to mention who saves the day gets shifted around with all of the different people who could have done it, which keeps predictability down and anticipation up.

"Carny" is more bleak than it is fun at points and more of the scary moments come from how the humans treat each other than how the beast mindlessly torments them. The Jersey Devil is still kept somewhat obscured at times, that way to conceal where it's going to come flying or creeping in from next. Likely to happen? No. But it goes to show that the deformed and odd looking carnies on the outside are the only ones that don't act monstrous on the inside when they aren't performing.

Rating: 7/10

Director: Sheldon Wilson (Shallow Ground, Kaw, Screamers: The Hunting)
Stars: Lou Diamond Phillips, Alan C. Peterson, Vlasta Vrana, Simone-Elise Girard, Matt Murray
Link: IMDB

Perkins' 14 (2009)

Giving some more rest for the wicked

This is a film that turns the tables around with an over-the-top revenge plot for the villain, except the large majority of the perspective is focused on the side of a small group of innocent characters. Essentially the tone of the picture is not necessarily going to show progress as it builds, as its steps leading up are going to crumble and the atmosphere is to turn bleak with less and less light at the end to reach for. If that gives you an idea of where this is going and how every other horror film in the last bunch of years has decided to wrap up its finale similarly, then "Perkins' 14" is going to be a film for the people who watch the credits with depression or a momentary scare that lasts about as long as your emotions might turn into feeling duped.

A deputy for the Sheriff's department named Dwayne Hopper had a son that was abducted 10 years ago along with 13 others in Stone Cove, Maine with the perpetrator never being caught. He greets his wife and daughter goodbye before heading out to what he thinks is just another day of work, except this one is going to be different, much, much different. A man is in lock up by the name of Ronald Perkins that has a few clues that match up to the prior disappearance cases. He does some fact checking on Perkins' story and it doesn't add up, though he's been so obsessed about it that no one wants to listen anymore. Perkins is a friend of the town judge and he's to be let out immediately despite his protests. Before doing so, he has the other off duty deputy check his place of residence only to find a secret passage in his basement and accidentally cause the violent and blood thirsty inhabitants to escape onto the town. Hopper goes to save his daughter and wife and meets his son Kyle who's now an unreasoning killing machine made that way--the film only hints at how that's possible--by Perkins due to his own parents getting killed and wanting revenge on Stone Cove.

This frequently plays on the dramatic with a father who doesn't want to let go, as if it happened just yesterday, so there are going to be a number of flashbacks to show how his life got ripped in two. This definitely works in the beginning by establishing some emotional attachment to their situation. Though when the action starts to heat up, the film jumps in and out of pushing the pacing forward. Instead of a continual charge of a survival film, it plays more on the melodramatic with the characters fumbling around and feeling bad for themselves. This uses part of the basic formula where creatures are attempting to overrun an area and it's up to a certain group of individuals to get out or take care of the problem--except here it's not always capitalized on. It also becomes disappointing that the rest of the town's people aren't focused on but that you're stuck with this dedicated and sympathetic but ultimately inept family.

This uses a little more drama to escalate the emotions of the story instead of going in cold and calculated or half-cocked to take care of the problem. The issue is the characters are possibly too real and less cinematic to make this exceptional case gripping. I mean, if you have part of the solution a suspension of disbelief--victims turned killing machines--why not exaggerate the other portion as well? They make one long series of bad choices and it can make one less likely to go with the flow than to yell at the screen to do something right. This ends with nothing to show for itself, which in this case pulls down the rest of the picture with so much investment in the wrong areas, leaving relating points or even a cold, hard message from achieving impact. To me taking a worthwhile risk that holds up even on repeat viewings would be doing something bold that everyone's aware but don't have the audacity to do. I see this less as being brave from taking a risk than a film with no constructive ideas in mind at that point to close on. The premise is no doubt thought through from an idea that was voted on from an online site contest to make into a horror movie. Though another scriptwriter took over and had to do the job in a speedy fashion due to the next After Dark Fest coming up and that shows in areas.

Some of the filmmaking mechanics aren't perfect with some overextended scenes and not always the best camera angles, though this does include some areas that are able to create some mood and showcase the settings. The lighting is somewhat dark in areas, along with a strobe light effect and a shaky camera to make things somewhat jarrig to what's going on. There are some pretty gory scenes in the meantime to showoff the 14's superhuman strength and indestructible nature when getting attacked themselves. If the film was going to be about them, as the title suggests, it would have been a nice touch to get more inside their head, possibly show variety between them or show more of Perkins' interactions with them. If it's going to be a diabolical and evil film, then do so, instead of playing coy and then deciding at the last moment to do so. Otherwise that can bring down the respect and potential involvement/investment as a viewer. The premise is quite over-the-top to say the least, though the players do take it seriously and it gives it some potential even if a share of it was undeveloped and somewhat rushed.

Rating: 3.5/10

Director: Craig Singer (A Good Night to Die, Dark Ride)
Stars: Patrick O' Kane, Richard Brake, Shayla Beesley, Mihaela Mihut
Link: IMDB, original web video of Perkins' 14 by Jeremy Donaldson

Misery (1990)

Gives new meaning to I'll scratch your back you scratch mine

The idea behind "Misery" involves a pretty basic story about fixation and survival after a well-known serial writer crashes his car during a blizzard and a local nurse pulls him out and harbors him in her house till his injuries improve and things blow over. This is a psychological chess match of an encounter that's a thrilling, cinematic journey that might get you rubbing your legs afterwards or just plain ashen at the sight of a snow storm on the rise for reasons other than nature at its fiercest.

The film has a certain building flow that escalates as it progresses. Annie Wilkes, Kathy Bates' character, starts out as an eager care taker and a bashful fan of the writer's work but as time creeps on she reveals a Jekyll and Hyde persona with one side being a polite small towner and the other a troubled women with a few skeletons in her closet. Paul Sheldon, played by James Caan, keeps his wits and emotions in check with a sense of dark humor despite the impossible situation he's found himself in. It's imperative that he plays along to her demanding personality as with the extent of his injuries he can't prepare his own food, never mind emptying the bladder. Though even when the weakest animal gets pushed or cornered: Watch out.

"Misery" carries distinctive traits of a Stephen King story as it starts as small as a seed, concentrates on character development and keeps you in the moment instead of worrying about technical jargon. Kathy Bates seems like she was made for the role of Annie Wilkes with her good-natured appearance and aura, but then what clenches it is there's just something you can't put your finger on, as if she's too welcoming. She's capable of pulling off both the pleasant and insane sides as if they were one and the same. This is a tale of circumstance: if two strong personalities intersect and how they ultimately interact with one another. When they first meet they have something in common on the surface, though as some find out personal information about the author or celebrity they so admire or that friendly neighbor or employee who appears normal on the outside, nothing could be farther than the truth. It's easier to fill in the blanks in our minds about others without really getting to know them...or their darkest secrets.

Rating: 9/10

Director: Rob Reiner (This Is Spinal Tap, Stand by Me, The Princess Bride)
Stars: James Caan, Kathy Bates, Richard Farnsworth
Link: IMDB

Strange Behavior (1981)

Something funny is going on

This came out during the slasher boom around the early '80s, except "Strange Behavior" dodged the norm from the infamous films of the heyday such as "Halloween," "Friday the 13th" and "Prom Night," as there isn't one killer at large and the murderers aren't cold-blooded psychopaths with twisted pasts, even if their bizarre motivations make them act like maniacal blood fiends.

The continually annoyed and stressed looking local Chief of Police--who never dons a traditional uniform as everything is usually hunky dory--must investigate these mysterious deaths. The strange part is the audience hardly ever witnesses the small town in the grip of fear. Some innocent gets sadistically killed and others go about their lives as if the grass is always greener on the other side with frivolous humor and their regular routines intact. This is the type of plot where there's an "elephant in the room" and only one man detects it, as this focuses on a connection between the Chief, experimenters at the local college and the Chief's late wife fitting right smack in the middle. The story thickens when the Chief's son opposes his stubborn father to make decisions as his own man but gets ensnared by the affiliation.

"Strange Behavior" throws in some distractions to lighten the load from watching violence and blood, such as a subplot between the Chief's son and the newly met, easy-going, blond secretary, as well as the chipper step mother who wants to fill the role of late wife. This takes cues from "Halloween" type killings meets "Altered States"-esque mad science meets "Bond"-like villains meets small town TV mystery/sitcom/love connection. This had the makings to be an esteemed film, though the filmmaker's ambitions were aiming sky high in an attempt to appease a viewer with scenes of the surreal and macabre, as well as the person who wants established, down-to-earth characters, though both sides bump heads to compete and this hardly feels steadily creepy or like it could actually happen as it doesn't fully come together and keep one on the edge of their seat. Even a potential for one last scare wasn't capitalized on. This could have learned from the weirdness that "Dead & Buried" had: to keep the atmosphere alive by feeding throughout.

Rating: 5/10

Stars: Michael Murphy, Louise Fletcher, Dan Shor
Link: IMDB


10 things to learn from "Strange Behavior":

10. Small town America looks oddly similar to New Zealand.
9. If the lights mysteriously go out stay in one spot.
8. Chiefs of Police can drink beer on the job.
7. Horny teenage girls need extra locks on their windows.
6. You don't need doors to operate a car.
5. You don't need dance lessons to have a good time.
4. Don't listen to pretty scientist ladies.
3. Scientists are all a few steps away from madmen.
2. Never, never go back and check a dead person without arming yourself first.

And the most obvious one of all:
1. Never participate in any experiments.

Prowl (2010)

Look it's a bird, it's a plane...I don't know what that is

This starts out like a coming-of-age drama with a young woman named Amber who's sick of small town life in Famfield despite her close friends, mother and part time job. There are some unexplained snippets with ominous visions that include people chasing her and decomposing bodies. Is something calling her, or is it just the stress and mounting pressure of cabin fever? She wants to move away and get her own apartment in Chicago but first she has to get there with a deposit before another prospective tenant. Her five friends tag along for the road trip, until right outside of the city limits their car breaks down. As chance would have it, a friendly semi-truck driver pulls over and they beg him to take them to the windy city, but not before telling him they want to snap his picture, that one should ride up front and, of course, their family should know who they're with for safety's sake. Can never be too careful, or can you?

They hang loose in the back cargo area by playing games, drinking and smoking drugs. Suddenly they take a nasty swerve and get thrown about. They call the driver and he gives them the run around to stop, which makes them suspicious enough to call 911, though where they just entered the signal doesn't go through. The driver backs into a loading area of an abandoned warehouse that looks like it used to be a slaughterhouse. After the back door opens, everything turns into chaos when they step out into the factory with no visible way out and strange creatures who fly through the air, crawl on the walls and want to consume their flesh sooner than they can rip it off. From then on out it ends up being something like "The Most Dangerous Game" as these victims are treated like not only lunch but challenging sport.

"Prowl" is a director's film first and foremost. It has a steady pacing that keeps up a certain element of mystery without laying out a full view of its blueprints, as well as it manages to escalate the story to different levels while still slowing down in a few areas to catch its breath and explain. The dialogue also dances around and doesn't lay it all out for the audience, which gives it some challenge and curious questions even after the credits roll. It manages to cover up its plotholes--sometimes after the fact, which makes you wonder about a few in the meantime--such as certain physicalities. It gradually unveils the blood-craving beasts from quick shots to extended, which keeps a viewer guessing as to what they are and what it all means while--thank the horror Gods!--doesn't fold in on itself and make what they have going too cheesy. This is more intriguing and mysterious like a thriller than it is continually scary like a horror, though there are still a few jumping shocks used to rile one's pulse, even if not terrifying.

What at first seems like it's only prolonging the inevitable, comes full circle and turns into a tale of finding out what Amber's life means before she even gets to her promised land. The blood is more watery than the truly crimson looking stuff and there are frantic camera shots that go a little overboard. Though this was a quick, basic and entertaining piece that could have been a run-of-the-mill movie with different direction, less measurement and passion put into, not to mention it's a simple story that only has a few conventions tweaked around and isn't the most original out there, but the way it carried itself was turned into an effective experience that urges forward. One where it's a little more unexpected than other don't-take-rides-from-strangers fare.

Rating: 7/10

Director: Patrik Syversen
Stars: Ruta Gedmintas, Courtney Hope, Joshua Bowman, Perdita Weeks
Link: IMDB


10 things to learn from "Prowl":

10. Guys with glasses never get the hot girl, Clark Kent included.
9. Abstinence from sex = survival in a horror tale
8. It's cheaper to shoot a film in Bulgaria, as it's cheaper to make products in China.
7. You can fly without wings.
6. You can leap highly without frog legs.
5. Women have ass kicking abilities too.
4. Don't do drugs while taking rides from a stranger, as it will only make things stranger.
3. Don't trust nice guys--they're often not so nice.
2. Stay put in the same town, as it's safer.

And finally:
1. Don't take rides from strangers--ever!